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Lot in Sodom (1933)

6.5
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Ratings: 6.5/10 from 402 users  
Reviews: 11 user | 3 critic

Lot in Sodom is a sensual depiction of the Sodom and Gomorrah story filled with sinewy and semi-clad bodies, delirious bacchanales devoted to physical pleasure, and a searing, cataclysmic ... See full summary »

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Title: Lot in Sodom (1933)

Lot in Sodom (1933) on IMDb 6.5/10

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Cast

Complete credited cast:
Friedrich Haak ...
Lot
Hildegarde Watson ...
Dorthea House ...
Lot's Daughter (as Dorothea Haus)
Lewis Whitbeck ...
Angel
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Storyline

Lot in Sodom is a sensual depiction of the Sodom and Gomorrah story filled with sinewy and semi-clad bodies, delirious bacchanales devoted to physical pleasure, and a searing, cataclysmic finale depicting the fall of a city devoted to sins of the flesh. Digitally mastered from excellent 35mm elements. Lot In Sodom has its original experimental soundtrack by Alec Wilder. Written by Anonymous

Plot Summary | Add Synopsis

Genres:

Short | Drama

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Release Date:

25 December 1933 (USA)  »

Also Known As:

Loth a Sodoma  »

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Aspect Ratio:

1.37 : 1
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User Reviews

 
Short masterpiece (but read the book first)
1 September 2005 | by (Brisbane, Australia) – See all my reviews

Having first seen the directors' 12min take on Poe's Fall of the House of Usher, I was looking forward to seeing this one too and wasn't disappointed at all. Though perhaps not quite up to the same level of artistic attainment as 'Usher' it is nevertheless very much in the same vein.

Like the 'Usher', the viewer should be familiar beforehand with the story on which it is based. In 1928, the directors, Watson and Webber, could have safely assumed the audience's knowledge of the biblical tale. (Interestingly, apart from the actual Genesis account, a phrase from the Song of Songs is also used when Lot is offering his daughters to the mob outside, desperately trying to convince them of the attractions of 'woman'). To complain that the film does not present the plot more overtly is beside the point, and almost a declaration of ignorance.

The basics of this tale (for those that know them) survive intact its retelling through the particularly distinctively visual, sometimes abstract or symbolic approach of Webber and Watson, and its protagonists are all clearly identifiable and well portrayed by the actors.

On the whole, a more accessible film than the 'Usher' film from the same directors. It bears, even demands, repeated watching. My only wish is that Webber and Watson had made more than just these two films together.


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